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Gormlaki Audacia Directory 04
Page 04
Briefly, then, the geologist assures us that when the cold of the Glacial Age was at its maximum glaciers streamed down from all the mountains of Scotland, Wales, and Northern England; that the ice was thick enough to overtop all the smaller hills, and on the plains it united in one great sea of ice some thousands of feet in thickness, that it stretched as far south as the latitude of London, England. But that to the west the ice streamed out across, the Irish Sea, the islands to the west of Scotland, and ended far out into what is now the Atlantic.<23> But these glaciers, vast as they were, were very small compared with the glaciers that streamed out from the mountains of Norway and Sweden. These great glaciers invaded England to the southwest, beat back the glacier ice of Scotland from the floor of the North Sea, overran Denmark, and spread their mantle of bowlder clay far south into Germany.
With Duerer and Holbein German art reached its apogee in the first half of the sixteenth century, yet their work was not different in spirit from that of their predecessors. Painting simply developed and became forceful and expressive technically without abandoning its early character. There is in Duerer a naive awkwardness of figure, some angularity of line, strain of pose, and in composition oftentimes huddling and overloading of the scene with details. There is not that largeness which seemed native to his Italian contemporaries. He was hampered by that German exactness, which found its best expression in engraving, and which, though unsuited to painting, nevertheless crept into it. Within these limitations Duerer produced the typical art of Germany in the Renaissance time--an art more attractive for the charm and beauty of its parts than for its unity, or its general impression. Duerer was a travelled man, visited Italy and the Netherlands, and, though he always remained a German in art, yet he picked up some Italian methods from Bellini and Mantegna that are faintly apparent in some of his works. In subject he was almost exclusively religious, painting the altar-piece with infinite care upon wooden panel, canvas, or parchment. He never worked in fresco, preferring oil and tempera. In drawing he was often harsh and faulty, in draperies cramped at times, and then, again, as in the Apostle panels at Munich, very broad, and effective. Many of his pictures show a hard, dry brush, and a few, again, are so free and mellow that they look as though done by another hand. He was usually minute in detail, especially in such features as hair, cloth, flesh. His portraits were uneven and not his best productions. He was too close a scrutinizer of the part and not enough of an observer of the whole for good portraiture. Indeed, that is the criticism to be made upon all his work. He was an exquisite realist of certain features, but not always of the _ensemble_. Nevertheless he holds first rank in the German art of the Renaissance, not only on account of his technical ability, but also because of his imagination, sincerity, and striking originality.
The Roman empire, as it existed in those days, must not be conceived of by the reader as united together under one compact and consolidated government. It was, on the other hand, a vast congeries of nations, widely dissimilar in every respect from each other, speaking various languages, and having various customs and laws. They were all, however, more or less dependent upon, and connected with, the great central power. Some of these countries were provinces, and were governed by officers appointed and sent out by the authorities at Rome. These governors had to collect the taxes of their provinces, and also to preside over and direct, in many important respects, the administration of justice. They had, accordingly, abundant opportunities to enrich themselves while thus in office, by collecting more money than they paid over to the government at home, and by taking bribes to favor the rich man's cause in court. Thus the more wealthy and prosperous provinces were objects of great competition among aspirants for office at Rome. Leading men would get these appointments, and, after remaining long enough in their provinces to acquire a fortune, would come back to Rome, and expend it in intrigues and maneuvers to obtain higher offices still.
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